This index lists a number of inventors, manufacturers, vendors and authors who have been involved in technical aspects of the art of
pastel, including authors of the most important early treatises and some critics who have been particularly influential. A selection of
modern pastellists who copied works in the Dictionary is also included. Research in this area is
still in progress. No attempt is made systematically to list all framemakers and artists' suppliers; rather this list includes only those
specifically known to have been connected with pastel; the purpose is to direct users to other sources of further information. Numerous pastellists were
themselves technical innovators and pioneers, and a good deal of information appears in the artists
section of the Dictionary which is not repeated here; reference should be made to the articles where cited.

Rudolph ACKERMANN (1764-1834), printseller, publisher and manufacturer of watercolours. His trade cards from c.1800 include "the best
Vellum for Crayon Drawings", "Silk Drawing Papers, for Crayons" as well as "Swiss Crayons and Crayon Pencils."
Lit.: British Artists' Suppliers at npg.org.uk

John ADAIR ( –1771), framemaker, 47 Brewer Street, London; continued by his son William Robert Adair (1747–1807).
The latter must be responsible for the frame for a pastel by Lawrence, 1794.
Lit.: Gilbert 1996, p. 62

Antoine-Julien ALIZARD (1827–1912), professor of drawing and painting at Langres, was a pupil of Léon Cogniet and probably the author of
a copy of La Tour's Rousseau made c.1850.

John ALLEN (c.1745–1829), leading bookseller in Hereford, offered artists' materials including soft crayons in sets, "as cheap as in London", in an
advertisement in the Hereford journal, 15.xii.1785. He was the father of John Allen (1789–1831), bookseller and antiquary,
author of the history of Herefordshire.
Lit.: Oxford DNB, for son

ALLWOOD & MURRAY (ﬂ. 1774), framemakers, who had the pastellist Peter Romney imprisoned for debt in 1774. The letter to his brother of
10.vi.1774 suggests that this was a firm active in either Ipswich or Cambridge, but it may be that Allwood and Murray were independent creditors. Thomas
Allwood (c.1738-p.1799) was a well-known London framer.

Robert BARKER (1739–1806), an itinerant painter, was awarded a patent (no. 1612) on 19.vi.1787 for panoramic apparatus called La nature à coup-d'œil, "for displaying views of nature at large, by
oil-painting, fresco, water-colours, crayons or other mode of painting or drawing."

John BARROW (1713–c.1780), mathematics tutor to the Royal Navy, writer and lexicographer. He is likely to be the John
Barrow of Sedbergh, born 1713 in Stainton, Westmoreland; he married Isabel Hodgson in Dent, 27.xii.1746; their son William matriculated at Oxford in 1774. At some
stage in the 1760 John Barrow became director of the Soho Academy run by Dr Barwis. He was succeeded by his son c.1780.
His Dictionarium polygraphicum (1735) contains a lengthy article on the manufacture of crayons, citing the
methods of "Mr Brown", presumably Alexander Browne, as well as of "Valyant" (Vaillant) (qq.v.). A large part of the text is exactly the same as that of the
third chapter in the anonymous Method of learning to draw in perspective, made easy published by Peele around the same time, and crediting Robert Boyle (q.v.).
Lit.: Oxford DNB; Nicholas Hans, New trends in education in the eighteenth century, London, 1951, pp. 90f; Dent parish records; Treatises

Le sieur J. BARTHELEMY, Libraire du Gouvernement & de l'Intendance, au Port-au-Prince, in Saint-Domingue, according to an
advertisement in Les Affiches américaines on 21.ii.1788 (p. 88), offered "pastels encadrés". In .xii.1790 he offered boxes of colours
newly received from Paris, including of "Pastel fin".

Pierre-François BEAUMONT (ﬂ. Paris 1747-62), sculpteur et doreur in Paris, framed Perronneau's portraits of the prince d'Ardore. He
also worked for Nattier, Portail and the Bâtiments du roi (a superb frame for Carle Van Loo's portrait of Louis XV was sent to the cardinal de La Roche-Aymon in 1757).
His career started as an engraver, maître sculpteur juré, rue Meslay 1747, subsequently pont Notre-Dame. In 1731 he married a Jeanne Bauchin, when he was
described as a graveur en taille douce and had already achieved majority (so the dates 1719-p.1777 often given for the engraver cannot be correct).
On 13.iv.1736 he was awarded a brevet de Graveur en taille-douce de la ville de Paris. By 1740 he was described as maître peintre, et conseiller (directeur by 1748)
de l'Académie de Saint-Luc. In 1748 the maître peintre took on an apprentice, Madeleine Monsure, "désireuse d'apprendre la dorure sur bois". His wife, died 17.v.1777 at
Belleville. A daughter, Marie-Antoinette, married first Claude-Charles Bucarin, négociant, then Jacques-Pierre Julliac, entrepreneur des Bâtiments du roi.
Lit.: Arnoult 2007; Pons 1987; X. Salmon, Portail, 1996, p. 11; Mémoires de la Société de sphragistique de Paris, iii, 1853, p. 155

Michel BELOT (1730–1792), 3, rue de l'Arbre-sec, Paris, painter, dealer, marchand de couleurs, fabricant de vernis, mentioned by Chaperon
1788, p. 161 and the Almanach du commerce for 1803–25. In 1758 he married Louise-Élisabeth Prieur. Their daughter, also Louise-Elisabeth (1761–1803),
became the second wife of Martin Drölling in 1785; Drölling's fine oil portrait of his father-in-law is
at Orléans. Mme Belot was still supplying artists' materials, including canvases, from this address until her death in 1803. Drölling's death was registered in 1817 by her
brothers Michel (1762– ) and Louis-Dominique (1783– ), both described as marchands de couleurs.
Lit.: Jal 1872, pp. 507f; inv. p.m., AN MC XXIV/1035, 4.i.1793; Herluison 1873, p. 118f

Claude Bernier, Bernière ou BERNIÈRES, sgr de Saint-Martin (ﬂ. 1744–; –1797), avocat au parlement, contrôleur général des ponts et
chaussées 1750, des Académies de Caen, Metz, Angers et Rouen, château du
Boële à Glos-la-Ferrière. His wife, Marie-Charlotte Klingstet ( –1757), had previously been married to Louis-François Lemarchand de La Vieuville, also
a contrôleur général des ponts et chaussées. On 17.xii.1744 Bernère was imprisoned in the Bastille for attempting to steal papers from Saint-Gobain, but released six weeks
later when the papers were returned. In 1774 at Saint-Gobain he constructed an alcohol-filled glass lens of enormous dimensions; the apparatus was depicted in
a contemporary print. He wrote to La Tour on 12.v.1764, with a version published in the Mercure, .vi.1764 (pp. 158ff), describing
the various problems with finding suitable glass for pastels. That made with Spanish soda was dark and greenish, while flint glass was weak, unless supplied in thick
sheets; Bohemian glass from Saint-Quirin was excellent apart from its annoying undulations, which he proposed either to straighten with his machine or to supply with a
deliberate, regular bulge.
Lit.: AN Y5327, Registre de clôtures d'inventaires après déces, 30.x.1757

Roby BISHOP (1738–1792), stationer, of Great Newport Street, Long Acre "has made it his business to provide
himself with paper made on purpose for Crayon-Painting, drawing, &c. where the Student may be supplied with the best sort of paper for
his purpose." He was succeeded by his son (by his wife, née Elizabeth Pearce) Samuel (who went bankrupt in 1793 and 1802).
Lit.: Russell 1777, p. 21n.; Exeter working papers at bookhistory.blogspot.co.uk; F. T. Cansick, Collection of...epitaphs, 1869

Louis-Marie BLANQUART DE SEPTFONTAINES (1751–1830), "un gentilhomme de l'Ardrésis"; he was born in Calais and appointed échevin in
1783. A friend of Buffon, he contributed an article on "L'Art de composer les pastels" to volume VI of Panckcoucke's Encyclopédie méthodique
which appeared in 1789, and is considerably more extensive than the article in Diderot & d'Alembert's version.
Treatises

John James BONHOTE (ﬂ. 1763-80), The Star, Hayes's Court, Soho, London 1766-80, haberdasher and supplier of pastels by
Stoupan (q.v.). The business took over that of Lewis Pache & Co from the same address, 1765-67. A trade card issued in 1766 reads:
"Jn. James Bonhote, (successor to Mr. Pache) hosier, hatter and glover, at the Star in Hays's Court, the lower end of Greek Street, Soho, London;
sells all sorts of silk, cotton, thread and worsted hose, ... The genuine Arquebuzade water from Switzerland, ... Sells besides, the noted
pastels, or Swiss crayons, by Bernard Stoupan, recommended for the best in Europe." John Russell (1772) describes Bonhote as
the original importer of crayons ("the ingredients which compose these brilliant crayons are not to be met with in England"), but by 1773 they
were being made by Charles Pache (q.v.) in London. He seems to have married twice; to Susanna N, and in 1769 to Alexandrine Etiennette
Boinod.
Lit.: Kosek 1998; Simon 1998; British artists' suppliers at npg.org.uk

Raphaël BOUQUET (Audigny 1863 - p.1920) received a Mention Très Honorable in Tours in 1894, and subsequently established studios
at 63, rue d'Isle, Saint-Quentin and 36, rue André Godin, Guise specialising in "photographie artistique, peinture, dessin, pastel". In 1920 his
address was 45 bd Gambetta, Saint-Quentin. He is known for a series of competent pastel copies of the La Tour works at Saint-Quentin, but
incurred much hostility when he collaborated with the Germans in the production of the French edition of Erhard 1918.
Lit.: Lapauze 1917; Saint-Quentin 2007

Claude BOUTET [possibly a pseudonym for Christophe Ballard (1641-1715)], author credited with the early Traité de la peinture en
mignature of which numerous versions appeared from 1673 on. However, the 1708 edition, printed in The Hague by the firm of Van Dole, contains
an important supplement, indicated on the title page as Auquel on a ajouté un petit traité de la peinture au pastel, avec la méthode de
composer les pastels. The author remains anonymous, but suggestions have included Jakob Christoph Le Blon (1667–1741), a specialist in colour
prints; Adam van Broekhuizen (1682–1748) and Constantijn Huygens II (1628–1697), both known pastellists (qq.v.). The few illustrations
were engraved by David Coster ( –1752). It provides very detailed instructions on making up pastels and combining colours. It also has practical
comments reflecting the practices of the
day, including the suggestion that room be made in the compartments of the pastel box for a few powdered pigments to be applied with stump, and
that the paper on which pastels are to be drawn are pasted to a board. The author recommends making pastel portraits half natural size, to make
up for the lack of force compared with oil painting, compensating by making the object seem more distant and thus fainter.
Lit.: Kuehni 2010; Treatises

Robert BOYLE (1627–1691), scientist. In 1731, John Peele at Locke's Head published, for 1s., The art of drawing and painting in
water-colours; the 2nd and 3rd editions appeared in 1732, and a 4th in 1735. Chapter XIV offered "Curious Directions for Drawing with Crayons"
(the curiosity for us may be that the instructions were focused on landscape rather than portrait painting),
while the next chapter was on the "Use and Nature of Dry Crayons". The treatise was otherwise focused on watercolour, but included a number of recipes
for preparing colour said to have come from Boyle's unpublished papers which the author had been shown by Boyle's great-nephew, the late Lord
Carleton. In 1732 Peele published the Method of learning to draw in perspective, made easy and fully explained, which included
"the art of drawing in crayons, with receipts for making them after the French and Italian manner" &c., "chiefly from
the manuscripts of the great Mr Boyle". Dedicated to Lady Walpole (an amateur artist; presumably Sir
Robert's wife), this reached its 3rd edition by 1735. What was described as
the 5th edition was published by Isaac Jackson in Dublin in 1749 under the title Arts companion, or A new assistant for the ingenious. This
included chapter III from the Method, while chapter IV was chapter XIV from the Art.
It is unclear whether Boyle had any involvement in the sections on pastels; he is credited explicitly only with newly invented blue and crimson
pigments. A large part of the text (the entire third chapter) coincides
precisely with much of the entry in Barrow's Dictionarium polygraphicum, 1735.
Treatises

Joseph BOZE (l745-1826) developed his own method of fixing pastels.
Dictionary, artists

Constant-Joseph BROCHART (1816–1899), born in Lille, the son of a Spanish painter. He exhibited at the Paris salon from 1845.
In the archives of Goupil & Cie, in addition to numerous records of his own work, there is a reference to a pastel by Rosalba from the Galerie du Palais Royal "retouché
par Brochart".

Henry BROOKES ( –1795), carver and gilder, better known for the Portfolio Manufactory and Stationery Warehouse at the Golden Head, 8 Coventry Street 1784–91, where he
supplied of Reeve's colours etc. He also published the Courier de Londres. He is mentioned in Saint-Michel's advertisement in 1785, and sold Jones's delineator in 1784/85. The business was continued by his nephew, also Henry Brookes.

John BRYDON, opposite Parliament Street, Charing Cross: printseller and framemaker who advertised engravings of pastels by De Koster 1793–97.

Albert-Quentin-Marie-Catherine, chevalier Philippy de BUCELLY D'ESTRÉES (1777–1850), membre résident de la Société des
sciences, arts, belles-lettres et agriculture de la ville de Saint-Quentin, and author of an early biography of La Tour which appeared in the
Mémoires of the society. He was the second son of Albert Philippy de Bucelly d'Estrées (1745-1809), lieutenant des maréchaux de France, mousquetaire du roi.

Adam BUCK (1759-1833), developed a method of mixing pastels with wax.
Dictionary, artists

Bainbrigg, or Baynbrigg, BUCKERIDGE, or Buckridge (1668-1733), poet, painter and author of an early history of British
painters (appended to Savage's translation of de Piles, 1706), attributes the "Perfection of Crayon-Painting" to Britain (and specifically
to Ashfield's extended palette); following a section of de Piles which is omitted from the translation, he defines "Pastils" as the "name formerly given…Crayons".
Lit.: Burns 2007, p. 7; Oxford DNB; Treatises

Adrian BURY (1891-1991), artist, poet and author of a study on La Tour. His pastel copy of the famous préparaton of Marie Fel appeared
at auction in 2013.

François-Charles BUTEUX (1722-1802), sculpteur ordinaire de la chambre du Comte d'Artois, rue du Saint-Sépulchre 688, supplied numerous frames for the
Bâtiments du roi (including frames for important paintings by Vigée Le Brun, as well as the Roslin pastel of Louis le dauphin, J.629.158, 1775), and appears in
the list of payees in the Loi no. 1035 of 16.vi.1791 covering arrears of royal payments for the Bâtiments du roi; he was due 44,349 livres,
one of the largest sums in the list. He was probably the son of Jean-Charles Buteux, reçu sculpteur, Académie de Saint-Luc, 1724. François-Charles's biodetails are incorrect
in many reference works: a carte de sureté was issued on 6.x.1792 when he was 70; his death was registered 13 pluviôse an X (his heir was Nicolas
Lestertin, sculpteur). His wife, Marie-Françoise Cointenant, died in 1787. In a document of 11.x.1758, AN Y5277 concerning the Cointenant family, Buteux is described as "premier medailliste de
l'academie royale de peinture & sculpture"; the Procès-verbaux confirm that he obtained 2nd prix de quartier in sculpture in 1747 and 1st in 1750.
Lit.: Pons 1987

Daniel CAFFÉ (1756–1815) instructed his brother Gottfried in the manufacture of pastels, "as good as those from Lausanne". They
came in complete sets of more than 300 pieces, among them a particularly fine, stable green. They were available at a particularly low
price in Dresden, "vor dem Pirnaischen Thore, No. 333".
Dictionary, artists

Bernardino CAMPI (1522–1591), Italian painter active in Cremona, who, according to Lomazzo, wrote a treatise about pastel.

Abondio CAMPIONE (ﬂ. 1772–96), Italian, at the Golden-Head, near All Saints Church, in Oxford, advertised in the
Oxford journal, 23.v.1772,
various wares and artist's materials, including crayons. He was recorded as a printseller and publisher in 1778.

Anatole CAMUS (ﬂ. c.1888–1917), gardien-concierge au musée Lécuyer, Saint-Quentin. Legend has it that he replaced La Tour's pastels with copies he made himself
to deceive the Germans during the First World War.
Lit.: Lapauze 1917; Saint-Quentin 2007

Pierre CAPELLE (1770-1851), auteur, salon critic.

CARDEREAU, framemaker, maître-menuisier, Paris.
Lit.: Harden 1998

Rosalba CARRIERA (1673-1757), pastellist credited with early progress in the method.
Dictionary, artists

Raymond CASEZ (ﬂ. 1930–54), a pupil of Croisé and Degrave at his native Saint-Quentin, won premier prix at the École de dessin there. He
made copies after the pastels in the musée Antoine-Lécuyer in sufficient numbers to have had a label printed: "COPIE/d'après M.-Q. DE LA TOUR/(Musée de Saint-Quentin)/Exécuté par Raymond
CASEZ/ancien élève de l'École de la Tour/51, Rue de Fayet – Saint-Quentin".
Lit.: Revue du vrai et du beau, 10.iii.1930

Philippe CAYEUX (1688–1769), sculpteur, ornemaniste, and collector, rue Saint-Honoré: made, or lent, a frame for a pastel by Noel-Nicolas Coypel which he reclaimed on the artist's death in 1734.
Lit.: Guiffrey 1883, p. 314

Benvenuto CELLINI (1500-1571), artist; writing c.1560, he describes the use of pastelli which may or may not refer to fabricated sticks, and could be an established resource.
Lit.: McGrath 1998; Burns 2007, p. 4

Cennino CENNINI (c.1370-c.1440), painter and author of early treatise on artists' materials, Il libro dell'arte, which first noted the mixing of pigments with white fillers to create graded colours, for use in tempera painting

Marie-Louise Guibert, Mme Charles CHAISE (1735–1802), from the 1760s, ran a boutique at the corner of the rue de l'Echelle and the petite
rue Saint-Louis, displaying a number of licentious pictures including five pastels probably by her husband.
Dictionary, artists; collectors, s.v. Charles Chaise

William CHALMERS & Son, framers, 118 High Street, Edinburgh. Framers of a number of pastels by Skirving (q.v.)

Sir William CHAMBERS (1723–1796), architect, of Berners Street, the subject of a pastel by Cotes. He received a letter from Margaret Hay, Aberdeen, ordering some "crions" for her eldest, Betty, who is
learning to draw tolerably well (30.i.1769, Royal Academy of Arts Archive, CHA/1/14).

James Wells CHAMPNEY (1843-1903), painter, studied in Écouen, Antwerp and Rome between 1866 and 1870 before returning to his native Boston.
He subsquently returned to Europe for shorter trips: an inscription on the verso of a copy after Boucher suggests that he was in
Paris, 19 quai Voltaire in 1893. He made numerous pastel copies after old master paintings and pastels, including works by La Tour,
Perronneau, Vigée Le Brun, Rembrandt, Boucher, Nattier, Greuze, Rigaud, Mignard, Drouais and Raoux, some copied after pictures in the Louvre
(a photograph of his studio, reproduced in Bunce 1897, reveals his competent copies of famous Louvre pastels by Prud'hon, Rosalba, Russell and Chardin).
Some 210 pastels, many copies, were in his posthumous sale (New York, American Art Galleries, 21-22.i.1904, with a biographical note). He owned a pastel by Russell. In 1875 he married Elizabeth Williams (1850–1922), a poet and novelist; she
published an article on "The golden age of pastel" in the Century magazine, 1891.

Serge CHAUMONT (1938– ) has, since 1982, made copies of the La Tour pastels at Saint-Quentin at the request of the town, to be presented to official
visitors. One was sold at auction in Saint-Quentin, 2.vii.2016.

CHEVREUX (ﬂ. 1858), pupil at the École gratuite de dessin à Saint-Quentin, named by Fleury (1908)
among the copyists of La Tour. In 1858 he left Saint-Quentin for Paris in the company of the painter Ulysse Butin (1837–1883; presumably the
Butain listed as a pupil of Deligne (q.v.) at the École impériale gratuite de dessin à Saint-Quentin in
1865). According to one story, Chevreux damaged a pastel by La Tour but restored it admirably. Chevreux remained in obscurity, and died in a lunatic asylum.
Lit.: Jules Claretie, La Vie à Paris, IV, 1883, pp. 482f

Jean-Jacques COIFFIÉ, framemaker, maître-mensuisier, rue des Carmes, Paris, reçu 23.iii.1751. He was the son of Mathieu Coiffié of
Bruz, near Rennes, and his brother Pierre-Hubert was described as "noble homme" at his marriage in 1750.
Lit.: Salverte 1962; Harden 1998

René COIFFIER ou Coeffier ( –1810), rue du Coq 133 [= rue du Coq-Honoré 121; by 1810 renumbered to 9: the property was leased from the painter David], marchand papetier et de couleurs fines pour les peintres,
supplier and manufacturer of "crayons noir de velours" used by artists such as J.-A.-M. Lemoine (q.v.). In 1802 he was in partnership with Salmon (q.v.).
The duchesse d'Abrantès called him "le Susse de la papeterie élégante de Paris". He married (after she divorced her first husband, marchand limonadier à la Comédie-Française)
Marie-Antoinette Muret, mother of Joséphine Mézeray (1774–1823) de la Comédie-Française. Despite extensive laboratories and equipment for the production of his special crayons,
when it came to pastels, his stock (which included "quatres boïtes de Pastels de differentes Grandeurs", Fr10; various "étuis à pastels", one holding 50 crayons (Fr4),
one 25 and three a dozen each) was evidently bought in, as he owed "Mme Giraud pour fourniture de pastels" Fr19.75. He also stocked "22 toiles à pastels de toutes
grandeurs" (Fr4). A series of advertisements appeared in the Journal de Paris in 1810 advertise the stock found in the inv. p.m. (including "pastels de
Paris et de Lauzanne"), and reveal that the lease and business had been taken over by Alphonse
Giroux, a picture restorer who had been a pupil of David. He continued the business which remained for many years a fashionable shop in Paris.
Lit.: Grand-Carteret 1913, p. 213; Dictionary, artists, s.v. Lemoine; inv. p.m., 25.i.1810, MC/ET/LII/743; other documents, AN; Jeffares, Citoyen Coiffier, marchand de couleurs et de papiers, 2017

Pierre-Barthélemy-Marie-Reine-Joseph-Alexandre de CONSTANT DE MASSOUL (Lyon 1755 – Paris 1813), author of
A treatise on the art of painting, and the composition of colours, 1797.
Dictionary, artists; Treatises; essay

Edward COOPER (ﬂ. 1682; -1725), at The Three Pigeons, Bedford Street, later Half Moon Street, auctioneer, print seller,
dealer and materials supplier: In an entry in his diary for 8.iv.1696 (18.iv.1696 new style), Constantijn
Huygens (q.v.) purchased some crayons and red chalk from him; he looked at some of his drawings, but did not see any that he liked.
Luttrell was among his debtors listed in his posthumous inventory.
Lit.: British artists' suppliers at npg.org.uk; National Archives, PROB 3/24/190

Thomas CORNELL ( –1793), print publisher and Stationer to his Royal Highness the Prince of Wales, at 4 or 7 Bruton street, Berkeley-square,
retailer of Swiss crayons by Hudson (q.v.). Walpole mentions his wife [née Ann Smith, dau. of Edward Smith] as the printseller in a letter to Lady Ossory of
25.iv.1783; she died in 1795.

Joseph-Victor CORTEY (1757–1794), épicier, droguiste, aux armes de Condé, rue de Grammont, Paris, supplier of Morvau's zinc white, mentioned by Chaperon 1788,
p. 67. During the Revolution Cortey was commandant de la garde nationale, section Lepelletier, and assisted the baron de Batz in an unsuccessful
attempt to rescue the royal family; he was executed. By 1803 Veuve Cortey was conducting the business from 77 rue des Filles Saint-Thomas.

Francis COTES (1726-1770), pastellist; his "Notes on Crayon Painting" were published in the European magazine in 1797. John Russell noted that Cotes restored a pastel by Carriera (Calista, belonging to Dr Chauncy) transferring it to another stetcher by soaking it.
Lit.: Dictionary, artists; Russell 1777, p. 22

William DARRES (ﬂ. 1740–63), printseller, bookseller and auctioneer at the Three Flower-de-Luces, Haymarket, later Coventry Street, near Haymarket,
a warehouse for Peter De Braque; advertised crayons made by Stoupan (Public advertiser, 5.i.1756). In the 1730s he formed a partnership for the importation of
books and prints from France with the French engraver Claude du Bosc (1682–1745), who had come to England in 1711.
The firm was declared bankrupt in 1742.
Lit.: British Artists' Suppliers at npg.org.uk; Exeter working papers at bookhistory.blogspot.co.uk; Universal director, 1763

Adolphe-Julien DELIGNE (1818–1866), pupil of Delaroche and M.-M. Drolling at the École des beaux-arts, Paris from 1838; exhibited at
the Salon 1846–66. He became directeur de l'École impériale gratuite de dessin à Saint-Quentin. In a catalogue des écoles de dessin appeared in conjunction with an
exhibition of 1865 at the Palais de l'industrie, Deligne and his pupils are named (Dufour, Clochez, Butain, Queuin (q.v.), Patrouillard [Degrave, q.v.],
Lematte, Delalu, Vinmer and Chennevier); the 59 exhibits included "4 copies de portraits au pastel". According to Fleury (1908) he was among the most accomplished
copyists of La Tour.

Marguerite-Suzanne DENOOR (1751–1830), born in Lunéville; she was described as a marchande d'estampes et de curiosités, Paris. Her first husband was
the writer and naturalist François Levaillant (1753–1824), from Suriname. She sold his library and natural history collection to the nation in 1795. After their
divorce she married Pierre-Paul Chénier (in 1798). Appearing in inventories as "citoyenne Denor", she was assigned numerous pictures from those seized from
émigrés during the Revolution, including one of the two Rosalba pastels of the Gergy/Havrincourt family, the other reserved for the Louvre, where both ended up.

DES LABBES: Guiffrey's attribution of a 1779 salon critique to this name (MSW 0303) is based on a letter to d'Angviller with this signature; the writer has not been furher identified.

Denis DIDEROT (1713-1784), influential writer and art critic. He encouraged research into encaustic painting in his 1755 treatise
L'Histoire & le secret de la peinture en cire, in which he supported Bachelier's claim to
primacy which he preferred to Caylus's desire for secrecy; but he later dismissed Bachelier's oil pastels in the Salon de 1765.
Lit.: Hilaire-Pérez 2002

Robert DOSSIE (1717-1777), apothecary from Sheffield; he settled in London in 1757, and became a member of the Society of Artists,
associating with Benjamin Franklin and Dr Johnson. His The handmaid to the arts, London, 1758, devotes some 20 pages to the preparation of
different pastel pigments.
Lit.: Kosek 1998; Lowengard 2008; Treatises

DUFROIR, Doreur, marchand d'Etampes/Fabrique et tient magasin de bordure etc., according to the label on the back of an anonymous late
17th century pastel (London, 16.IV.1999, Lot 152).

Antoine-Charles DULAC (Paris 1729–1811), maître-peintre et doreur, marchand bijoutier, marchand de tableaux, rue des Prêtres,
paroisse Saint-Germain-l'Auxerrois. He was the son of Charles-Antoine Dulac (1703–1774), maître-peintre. In 1753 he married Jeanne Guibert ( –1802); their son
Edouard-Antoine ( –1783) was a member of the Académie de Saint-Luc in 1761, as was his brother Pierre-Charles (1733–1805).
His shop was damaged in a fire of 1762; the stock included pastels. Threee years later, he had reopened, selling "beaucoup de portraits en pastel,
des estampes nudité qui sont morceaux d'académie; il vend quelquefois des mignatures gaillardes." A description of the shop, its customers and
its mistress ("as tempting as the things she sold") appears in the Rev. William Cole's Journey to Paris in the year 1765 (London, 1931).
In 1777 he appeared without address: "Dulac, vend des Pastels, des Dessins & des Estampes montés."
Lit.: lettre d'Hemery, inspecteur de police, 1765, BnF, MS franc. 22121, Anisson, 2, cited Dunand 1967, p. 237; Almanach des peintres, 1777, p. 169; Michel 2007, p. 124

DUMARETS (ﬂ. Paris 1780–92), also Dumaret, Dumarest, Dumarests, rue de la Vieille-Draperie, quartier du Palais, developed a secret composition for
"pastels" (strictly, crayons de couleur), for which the Académie had
issued a certificate; the process had apparently been sold to Nadaux (q.v.) who supplied pastels from the same house as Dumarest. In
the Petites affiches, 1787, p. 288, he advertised his newly invented colour, "Outremer factice" (an improved Prussian blue); this had been submitted to the Académie royale
in 1786 and approved after several reports. It was available from the author, "rue du Harlay". He was also mentioned in the Nouvelles de la république des lettres et des arts, 1787, p. 167.
On 31.iii.1792, Le Barbier reported to the Académie that Desmarets was now old, infirm and poor, and
it was resolved to write to the Municipalité to request his admission to the Incurables. It is likely that he was the "Dumarets peintre" recorded as a porcelain painter at
Sèvres in 1752. A "Dumarets, peintre" was an honorary member (with 21 years' service) of a masonic lodge in 1811, but this was corrected to "Desmarez" in the 1812 edition. The marriage
of a Dumarets and a demoiselle Duchaillot took place on 22.xi.1744 (insinuations, Châtelet, 17.viii.1761).
He is not to be confused with Rambert Dumarest (1750–1806), dessinateur, graveur en médailles.
Lit.: Chatelus 1991, pp. 71; 83; Tamara Préaud, Sèvres workmen's list, online

Bernard DUPUY DU GREZ (1639-1720) abandoned his position as avocat au parlement to found an École publique et gratuite de dessin,
supported by Crozat and Cammas, and which in 1751 became the Académie royale. In his Traité sur la peinture, Toulouse, 1699,
he provides a short account of making pastel sticks, although he recommends that the pigments be purchased ready ground from a colourman (pp. 275–76).

Michel-François DUTENS (1732-1804) published a Principes abrégés de peinture in Tours in 1779; it has several references to pastel pigments.
A new edition was published in Paris, advertised in 1804 by libraires Debray and Onfroy (price 2 livres 25), considerably augmented in "l'art de composer les Pastels".

DUVAL (ﬂ. Paris 1731), peintre, "qui fait d'excellent pastel" according to a letter from the sculptor Raymond Falyt in Paris to
Carriera (6.vii.1731). Among numerous homonyms, a Nicolas Duval, maître peintre, rue Saint-Denis is recorded in famillesparisiennes between 1699 and
1725, possibly the Nicolas Duval active in 1757 (Bénézit).

Pietro EDWARDS (1744–1821), Venetian connoisseur and restorer, from a family of English origin; permanent secretary of the Veneto Liberal Collegio di Pittura;
member of the Accademia Clementina of Bologna from 1775, as well as of the San Luca in Rome and that of Parma. He carried out a number of inventories of Venetian collections, notably that of Ludovico Manin.
Lit.: Ingamells 1997; Tormen 2009, p. 245

Alexander EMERTON (1703–1737), colourman, at the Bell, Arundell Street, advertised, in addition to materials for house painting, "fine crayons of all sorts" in the Country journal or the craftsman,
28.xii.1728; advertisements continued to appear in the 1760s. The son of Joseph Emerton of Snow Hill, also a member of the Haberdasher's Society, he was admitted to the freedom of the City in 1724. He insured his premises at the Sun Fire office from 1725, the year in which he married an Elizabeth Frances
Hamersley who continued the business after his death; their son Alexander (1734– )was also involved, and the firm was recorded until 1804.
Lit.: British artists' suppliers at npg.org.uk

Le sieur d'EMERY, author of the Recueil des curiositez rares et nouvelles des plus admirables effets de la nature, Paris, 1674. The
identity of the author has been confused, the 1685 English translation being erroneously credited to Nicolas Lémery (1645-1715), apothecary to the French king, but a Huguenot
who ceased practice in 1685. Antoine-Joseph d'Émery or Hemery is more widely accepted.

Charles ESCOT (Gaillac 1834–1902), portraitist, pupil of Constantin-Jean-Marie Prévost at Toulouse and also at the École gratuite de
dessin à Saint-Quentin. He made remarkable pastel copies of the La Tour Rousseau and Liotard Mme d'Épinay at Geneva, now in
Versailles; a similar copy of La Tour's abbé Huber is at Tourcoing. He was cited by Fleury (1908) among the best copyists of La Tour.
Lit.: Salmon 1997, pp. 157–63

Charles ESPLIN & Co.'s Paper Wareroom, High Street, Edinburgh, sold artists' colours including crayons, according to an advertisement in the Caledonian Mercury, 12.vii.1783.

Kaspar FABER (1730–1784), a cabinet-maker, founded a pencil factory at Stein, near Nürnberg in 1761. A descendent married into the Castell family.

Nikolai Detlef FALCK (1736-1783), surgeon, expert on venereal diseases, advertised in the Kentish gazette, 6.xi.1770, a series of six subscription lectures to take place in Canterbury covering the "natural history and doctrine of colours,
relating to the various arts of painting, in water, crayons and oil."

Gustav FÄHRIG (ﬂ. Dresden 1836–62) made pastel copies of Dresden pictures, including several versions of Liotard's
Chocolatière, a Mengs self-portrait and a Rotari Magdalen. He was possibly the artist of this name active in Göteborg c.1850.

Abraham FISCHER (Stockholm 1724-1775), Swedish soldier and topographical artist. He joined the fortifications division in 1739 and
rose to be captain in the Stockholm brigade in 1765, retiring three years later with the rank of major; he was also a chevalier of the order of
the Épée. He is best known for a series of engraved views of houses in Skåne published in 1756 from drawings by Gerhard von Buhrmann. In 1770 an
article appeared in the Journal des sçavans in which he claimed to have invented a superior method of fixing pastel.
Dictionary, Treatises

Paul-Philippe-Eugène-Joseph FLAYELLE de Xandrin (1870–1947), pharmacien, secrétaire commission sanitaire Saint-Quentin. He was a friend of Matisse's father. He or
his son was the amateur pastellist who made a series of pastel copies of the La Tour pastels at Saint-Quentin; they
appeared at auction there 21.vii.2017.

Richard FLETCHER ( –1770), framemaker, carver and gilder at the Golden-head, near the Globe tavern, London, offered
"straining-frames cloathed and pasted with paper fit for crayons" (Gazeteer and new daily advertiser, 19.iii.1766).
Lit.: British picture framemakers at npg.org.uk

John FORFEIT (ﬂ. London 1762–1800), framemaker, carver and gilder, was married in 1762 and recorded at 25 Maiden Lane, Covent Garden, London 1773-1800;
he was described as a picture dealer in a coroner's inquest in 1778. Wakefield's directory (1790) lists him as a "picture cleaner, and frame maker, artificial florist, fillagree and wafer worker."
See also Westminster rate books, poll books, apprentice records and a label found on one of a group of nine pastels said to be by Miss Sharples of Bath, but probably early works by Ellen Sharples
(six sold at Gloucester, Chorley's, 29–30.i.2019, Lot 774, attr. Rolinda Sharples).

GIRAULT, French suppliers of pastels said to have been made continuously since 1780; the earliest directory entry (Annuaire général du
commerce, 1855) lists (François-Pierre) Girault père (1783–1858; he married, 15.iv.1815, a Marguerite-Hélène Brasseur) at 34 Marché-Neuf and (Jean-François-Alexis)
Girault (1821– ) fils at 11 quai Saint-Michel.
A François-Pierre Girault or Giroult, presumably father of the former, had been married to Louise-Bénédicte Durand but was separated in 1793.
It is unclear if the "Mme Giraud" who supplied pastels to the retailer René Coiffier (q.v.) in 1810 was related.

Gabriel GIRODON (1884–1941) was conservateur of the musée Antoine-Lécuyer, Saint-Quentin, from 1939 to 1941.

François-Simon-Alphonse GIROUX (1775-1848), ébéniste, picture-dealer and painter, said to have been a pupil of David.
Soon after he established a picture restoration business, trading as Maison Alphonse Giroux or Giroux & Cie, and situated at 7 rue du Coq-Saint-Honoré by the early 1800s.
By 1810, advertisements in the Journal de Paris from the sign Au Coq-Honoré included "pastels de Paris et de Lauzanne" [sic]; these advertisements included a wide range of merchandise,
possibly taken over from the firm of Coiffier (q.v.), his immediate neighbour at no. 9. On 11.vii.1796 Giroux married Claudine Collin de La Perrière (he was then described as a marchand de
tableau, living at his father's, 133 rue Montmartre); their eldest son André (1801–1879) was a painter. Giroux père was
succeeded by his son, Alphonse-Gustave Giroux (1809–1886) in 1838. The firm supplied the frame on a pastel by Petit, homme, sd 1817. "M. Giroux,
au Coq-Honoré, fait des chassis garni de cette manière, sur lesquels mord très-bien le pastel", according to Jacques-Philippe Voiart in describing
the use of pastels "sur une toile préparéee à l'huile, ce qui donne au pastel plus de durée et une similitude avec ce genre." (Entretiens sur la
théorie de la peinture, 1820, p. 129).

Three sons of Jean GOSSET, a Huguenot from Jersey: Gideon (1707-1785), Isaac (1713-1799) and Jacob or James ( -1788) were active as
carvers, gilders and framemakers in London probably by 1733. Jean's brother Matthew Gosset (1683-1744), carver and wax modeller, was in London
by 1709. Isaac was also a wax modeller, and is the most prominent member of the family; he is probably "Gosset the frame maker" (possibly Gideon)
who supplied "architrave gold frames" and glasses to Arthur Pond, 1735-49, as well as for pastels by Hoare, Cotes and possibly Liotard
(who portrayed him in profile), mainly dating to the 1740s.
Lit.: Tessa Murdoch, "Courtiers and classics: the Gosset family", Country life, CLXXVII, 1985, pp. 1282f; London 1985b; Simon 1996; British picture
framemakers at npg.org.uk

Pierre GOULVEAUT (1756–p.1824), doreur, active in London in 1824 (Lawrence, Mrs Fitzherbert), but no doubt trained in Paris. He was married to a
Marie Helme, and their daughter Françoise was said to have been born in London c.1783. In 1796 he was living in Boulogne-sur-Mer.

Albert GRAND, restorer, dealer and collector.
Dictionary, collectors

Sebastian ("Bassanio") GRANDI (ﬂ. London 1789-1806), 6 Brownlow Street, Long Acre 1806. Italian colourman; he sold
crayons to Joseph Farington, 1796 (Farington 1978-84, III, p. 1009). In 1806 he received the Society of Arts's silver medal and premium, for
materials including crayons "which are greatly superior to any in use"; the recipe consited of bone-ash powder mixed with spermaceti, to which the
pigment was added, together with white chalk if softer pastels were required. He was portrayed by Reynolds and Opie. A colourful character, in
1806 he was tried for murder but acquitted.
Lit.: British artists' suppliers at npg.org.uk; Transactions of the Society of Arts, XXIV, 1802, pp. 85ff

Detlev Moritz Georg Heinrich Wilhelm Freiherr von HADLEN (1878–1935), from a military family, studied Venetian painting at Jena and Florence before working at Dresden and Berlin.
During the First World War he served in the German army's Kunstschutz, and was responsible for the removal to Maubeuge of the La Tour pastels in 1917, and
for the printed catalogue.
Lit.: Saint-Quentin 2007

Jean Christoph HELMODT, Helmoldt, Hellmoldt, Helmholdt, Hellmold, or Helmod (1743–1824), from Osterode, pastel manufacturer in Lausanne,
apprentice and successor to Stoupan (q.v.). From the
early 1790s he was exporting to Leipzig, Berlin, London, St Petersburg, Moscow etc. An advertisement in Lloyd's evening post, 27.vi.1792,
records that "Mr Helmhold, successor to the late Mr Stoupan, of Lausanne, in Switzerland, Manufacturer of Pastels, or Swiss Crayons, is just arrived,
and has improved a number of Setts and Half-Setts, warranted the best, and at the most reasonable Prices. His stay will be very short."; he gave
the address of Mr Chabaud, Plumtree Street, Bloomsbury. In the autumn of 1793, Helmoldt recorded that he had visited
London the previous summer, "les boites de pastel remplissant la vache attachée au dessus de la voiture". In a letter of 29.xi.1793, Helmoldt mentioned that the
boxed were available in two sizes with two contents (normal and reduced) for prices of 10 and 20 Swiss livres, or 17 and 34. However in 1794 pastels were damaged
during transport from Basel to London.
Lit.: William Guthrie, Nouvelle géographie universelle, Paris, 1802, III, p. 244; Revue historique vaudoise, 1943, p. 171; Revue historique
vaudoise, 1985, p. 68; Hugues Jahier, "Un article recherché d'exportation lausannoise vers l'Angleterre du XVIIIe siècle", Revue historique vaudoise, XCV, 1987, pp. 67–83;
Corinne Curat, in Lausanne 2018, p. 59f

"S & I. L. HENRY, Pencil-Makers, No 20 William-street, [New York], nearly opposite the Post office. Returns thanks to their friends who have favoured them with commands, and informs them that they continually
keep on hand, a general assortment of goods in the above line. Any orders sent will be executed with Punctuality and dipatch.
They have for sale, a few sets of the beautiful crayon colour pencils, of 36, 24, and 18 different shades, neatly made and put up in paper or
wood cases, to be used as Swiss Crayons....." Mercantile advertiser, 29.VII.1799.

Solomon HUDSON (1741-1829), carver and gilder, 16 Great Titchfield Street, London until 1793 before retiring to Chertsey. He also had
26 Portland Place built c.1778 by Robert Adam; it was occupied by Lord Sandys. His son John was a captain, RN. Hudson supplied frames for the
Russell pendants, Prince of Wales and Mrs Fitzherbert, 1791, £42 16s. paid .IX.1793.
Lit.: Miller 1976, p. 109; British picture framemakers at npg.org.uk; Univ. Nottingham MSS collection

Thomas HUDSON (ﬂ. 1786-88), pastel-maker of 18 Angel Court, Westminster (not apparently related to Solomon Hudson, q.v.),
according to his advertisement in the Morning herald, 24.i.1787: "To the Artists, &c. The true
Swiss crayons, prepared by Mr. Hudsons, No. 18, Angel-court, Princess-street, Westminster, appointed to be sold by Mr Cornell, Stationer to
his Royal Highness the Prince of Wales, in Bruton street, Berkeley-square; and by Mr. Pool [James Poole (q.v.)], colourman, No. 163, High
Holborn, and no where else. These crayons work free and mellow all alike, they do not snap and break, or hard, like most others now made, and
being prepared by a different process, the colours (or tints) are in the highest perfection, and have been approved of by numbers of eminent artists &c. They
are sold in sets at 10s. 6d. 1l. 1s. and 2l. 2s. each, and sets of black and white, with full shades of greys, from 2s. 6d. to 5s. and upward.–
N.B. These Crayons are almost one half less in price, than they have hitherto been sold for. Always ask for the Crayons prepared by Mr. Hudson as above."
Lit.: British artists' suppliers at npg.org.uk; Westminster rate books (for first name)

Joel HULBERT ( -c.1816), carver and gilder, 12 Camden Street, Dublin, in 1798; he was appointed toll collector at Monastereven, near Dublin, in 1800, and became
an informer against the United Irishmen. His sons George and William were recorded as carvers and gilders, 36 Dawson Street, in 1798 but are absent from 1799 on. Robert
Hulbert, presumably a third son, is recorded in 1799. Frames on pastels by Hamilton, Mrs La Touche; the Misses La Touche, c.1795; and an unidentified man, all with Camden Street label.
Lit.: Paul Caffrey, in Gorry Gallery exh. cat. 2-12.III.2005; Knight of Glin, Irish furniture, 2007, p. 293

Mathurin ITÉGUIEMME, cloître Saint-Sulpice, Orléans, advertised "toile à peindre à l'huile & au pastel…à vendre a bon compte",
Journal de l'Orléanais, 18.iv.1788. He advertised in the local newspapers from 1764 to 1791, offering to paint portraits and other genres, to teach
drawing and to sell materials. He was recorded in 1758 in the Orléans masonic loge of Saint-Jean des enfants de la sagesse et de la concorde.

Benjamin JAGGER advertised in the Norfolk chronicle, 31.viii.1793, offering the stock from his shop in the Market Place, Norwich which he was compelled to leave; it
included glasses, frames, "a few good Pictures; fine Drawings on Vellum, chalks andothers...some sets of Crayons."

Rienk JELGERHUIS (1729-1806), pastellist, left a 1794 manuscript describing the manufacture and use of pastels.
Dictionary, artists; Treatises

Mr JOHNSON, presumably Thomas Johnson (1723–1799), is credited in the exhibition catalogue with the frame for a pastel by Daniel Dodd, of Mr Vivarez,
exhibited at the Free Society in 1762.
Lit.: British picture framemakers at npg.org.uk

Anon. "abonné de JOINVILLE en Champagne, homme caracterisé et digne de foi", advertised a method of fixing pastel in the Annonces, affiches et avis
divers of .iii.1758; in 1766 he added that pastels fixed in this way could have a varnish applied in place of the glass.
Lit.: Ratouis de Limay 1946, p. 149

Louis-Quentin JOLY (Saint-Quentin 1744 - Paris p.1793), maître sculpteur, doreur et peintre, rue Saint-Honoré, à côté de l'Opéra, member of the
Académie de Saint-Luc, reçu 1770; in 1789 (when he entered a contract to postpone his debts) he had a magazin d'estampes. By 1793 he was living at quai de Gesvres 19. He had moved to Paris in 1759,
the son of Nicolas-Quentin Joly, maître menuisier and brother of Nicolas-Quentin Joly, maître menuisier (who married the daughter of Louis-Augustin
Lanté, maître menuisier, 25.v.1771; her brother Nicolas was a miniaturist). He was probably the Joly who supplied a number of frames to the pastellist Boze.

Elizabeth Randall KEATING (ﬂ. London 1782-92). In a 3-page memorial to the President and Council of the Royal Academy (RA Archives, RAA/SEC/2/91/1, 1792), she offers
to demonstrate her method of manufacturing crayons, and makes reference to Valentine Green. See also "Regarding Mrs. Keeting and her Swiss-style crayons", 3.v.1782, Committee
Minutes of the Committee on Polite Arts, [R]SA Minutes of Various Premium Committees 1781-82 [R]SA PR.GE/112/12/23. She may have been related to the colourman Robert
Keating ( –1758) of The White Hart, Long Acre, who supplied canvases for oil painting to Katherine Read in 1755.
Lit.: Lowengard 2008

Thomas KEYSE (1721-1800) was awarded a bounty of 30 gns "for the discovery of his method of painting in fixed crayons" by the Society of
Arts in 1764.
Dictionary, artists
Lit.: Museum rusticum et commerciale, II, 1764, p. 376

Josef KRIMPACHER (ﬂ. Salzburg 1754) made the gilt frames for a series of pastels of the abbots of St. Peter by J. G. Troger (q.v.) in Salzburg in 1754.

Étienne LA FONT DE SAINT-YENNE (Lyon 1688 - Paris 1771) [de La Font, Lafond etc.], influential early salon critic and enthusiast for history painting, but dismissive of
portraiture. His reactionary views on the decadence of French art in his 1747 Réflexions… were particularly targetted against pastel, which he described as an
"espéce de Peinture excessivement à la mode". Of a somewhat obscure family, he was a member of Marie Leszczynska's court 1729–37, and a corresponding member of the
Académie des sciences, belles-lettres & arts de Lyon.
Lit.: Grove 1996

Philippe de LA HIRE (1640–1718), author of an early Traité de la pratique de la peinture, 1699, published by the Académie des sciences in 1730; it
describes pastel sets manufactured to provide homogeneous consistency.
Dictionary, artists

Gerard de LAIRESSE (1640-1711), painter and author of Het groot schilderboek, 1707, in which the process of mezzotint was compared with crayon drawing on dark paper.

Joseph-Jérôme Lefrançois de LALANDE (1732-1807), astronome, de l'Académie des sciences. The subject of a pastel by Ducreux, his
Voyage d'un François en Italie provided a description of the pastel fixing method of the principe di San Severo (q.v.). A summary
of the technique appeared in L'Avant-Coureur, 22.i.1770, pp. 52ff.
Lit.: Burns 2007

La comtesse de LAMOTE-BARACÉ, née Francoise De Paule-Marie-Thérèse de Virieu (1814-1898), amateur pastellist, made, at the age of 80, a competent pastel copy of a 1794 portrait by Marchand (signed Ctesse de LB).

Charles Lapause, dit Henry LAPAUZE (1867–1925), historien et critique d'art. He was a member of the Conseil supérieur des beaux-arts, and was appointed director of the Petit-Palais in 1905. He
published his influential study on the La Tour pastels at Saint-Quentin in 1898.
Lit.: Saint-Quentin 2007

Maurice-Quentin de LA TOUR (1704–1788), inveterate experimenter in pastel, believed to have a secret method of fixing them
which the Goncourts tantalisingly suggested was described in a letter which Frédéric Villot would publish. Perhaps this was his idea of sealing the pastel between two
sheets of glass.
Dictionary, artists

Le sieur de LAUNAY (ﬂ. 1750), quai de Gesvres, recommended by Petit de Bachaumont to maréchal d'Isenghein for his "Bordures de composition". He
may be the supplier of the composition frame for La Tour's Orry (Louvre), bearing the stamp "ornements de composition/D.L".
Lit.: Pons 1987

René LE CLERC was conservateur of the musée Antoine-Lécuyer, Saint-Quentin, from 1947 to 1974.

Florent LE COMTE (?1655-1712), collector and author of a critique of the Salon de 1699 in which Vivien's pastels are discussed.
Lit.: Jal 1872

LEFRANC, Paris, suppliers of pastels from 1775. The firm's origins date to c.1720, with an ancestor, Charles de La Clef, who
founded a "commerce de pigments et d’épices" rue du Four-Saint-Germain, au coin de celle Princesse with the encouragement of Chardin. Around 1775 the
business passed to his son Louis-Robert Laclef (1752–p.1793) who married an Elisabeth Balland ( –1851). Their daughters Julie (1787– ), Louise-Victoire-Elisabeth and Adèle (1796– ) were married respectively to
Marie-Alexandre Lefranc (1806), Jean-Baptiste-Lauren Aubry (1811) and Marin-Alexandre Marolle (1817); the business (which had moved to rue Princesse 258 by 1793) passed first to the latter, and then to his nephews were Alphonse and Jules
Lefranc who took over the business and moved the factory to Grenelle.
Lit.: Grand-Carteret 1913; Kosek 1998

Louis LEMASLE (1788–1870), peintre, was conservateur of the musée de Saint-Quentin, from 1837 to 1856.

Robert LEPELTIER (1913–1996), artist and restorer, author of Restauration des dessins et estampes, Fribourg, 1977. An invoice in the Archives des musées
nationaux, sér. D-Da, cabinet des dessins, D16, 1971, indicates that he worked on pastels by Russell, Vivien, La Tour, Labille-Guiard, Lundberg and éc. fr. XVIIIe. He
invented the Lepeltier box, a form of mounting applied to some pastels in the Louvre. Some photographs from his studio survive recording his work.

Placide-Auguste LE PILEUR D'APLIGNY (ﬂ. 1772–1820), chemist and author. He produced numerous works on subject ranging from music to dyeing and the
fabrication of beer. His Traité des couleurs materielles, Paris, 1779, described Reiffenstein's method of preparing
canvas for pastel with coatings of oil and glass powder, similar to Pellechet's process; it seems to have been used by Rotari.
Lit.: Shelley 2002, p. 11, n.37; Treatises

Le Sieur LEPRINCE (presumably the father or brother of the pastellist Mme de Laperche, q.v.) advertised in the Annonces, affiches…de l'Orléanois,
18.ix.1772, offering to fix pastels using the Loriot method at half the price.
Dictionary, artists, s.v. Laperche

Mme Julien LESÉNÉCAL, née Denise Albert (1922-1995), known as Denise Lesénécal-Albert, was a pupil at the École de dessin at Saint-Quentin in 1937, under Gabriel Girodon. She
made a series of copies of La Tour pastels from Saint-Quentin, six of which were sold at Saint-Quentin, 2.vii.2016.

Henry LÉTONNÉ, picture and print frame maker, reçu maître-menuisier 9.vi.1773 (although stamped frames for paintings by Boucher and Frédou predate this),
active from 1760 until 1791. He lived on the quai d'Orléans, près du
Pont-Rouge, and then rue de l'Ile-Saint-Louis. He married a Marie-Magdeleine Dubuisson; their son Pierre, also a maître-menuisier by 1791, was married in 1811. He appeared as an ami at the tutellage conference for Claude Infroit's minor son in 1786. Stamped frames on a pastel by Desangles, Sophie Arnould; a copy of Kucharski's Louis XVII (MV 6520); and a pair of anonymes
pendants.
Lit.: Salverte 1962; Harden 1998

Joan Gideon LOTEN (1710–1789), employee of the Vereenigde Oostindische Compagnie, governor of Zeylan; he lived in London for some years, becoming FRS 1760, FSA 1761; salon critic.

Mr LOYD (ﬂ. Boston 1771). Copley wrote from New York to his brother Henry Pelham in Boston (16.vi.1771) explaining that "I want my Crayons
much", instructing him "do see Mr Loyd, and find when Smith will sail, for I shall not be able to do long without them." It is unclear if Loyd was a crayon maker.

Pierre-Philippe MAELRONDT (1710–1794), agent of Caroline Luise in Paris, where he died at 374 rue Saint-Honoré. His wife was Marie-Anne-Thérèse Depplanche, and
his heir his son-in-law Adrien-Jacques-François Brissault, lawyer.

Carel van MANDER (1548–1606), Flemish painter, author of Het schilder-boeck, published in Haarlem in 1604, in which Goltzius's
use of "cryons" was discussed.
Treatises

Louis MANDROT (1740–1795), négociant from Yverdon, attempted to export pastels by Helmoldt (q.v.) to London in 1793–94 but seems to have run into difficulties
in transporting them safely.
Lit.: Corinne Curat, in Lausanne 2018, p. 59f

Carlo MARATTI (1625-1713), artist and restorer, said to have used pastel to restore paintings.
Dictionary, artists

Antoine de MARCENAY DE GHUY (1724-1811), engraver. Together with Peters he organised the Salons du Colisée after the dissolution of the Académie de Saint-Luc.
Lit.: Chatelus 1991, pp. 156f

Basile MASSÉ (ﬂ. Paris 1744–50) made copies in ink of portraits by Rigaud and La Tour, among them the pastel of Mlle de La Boissière. He was recorded as a
bourgeois de Paris, rue Neuve, paroisse Saint-Étienne-du-Mont, when the inv. p.m. of his wife, Marie-Anne Duhan, was registered in 1745.

Charles-LouisMAURISAN ( –1773), maître sculpteur juré en charge de l’académie de Saint-Luc, rue Meslay by 1741, when he was heir to his father,
Charles-Louis Maurisan; in 1764 his wife, Marie-Louise de Villée, died, leaving two minor children. He was then living Grande rue du faubourg Saint-Denis.
He became entrepreneur des Bâtiments du roi, provided frames for pastels by La Tour of Louis XV, the dauphin and queen in 1748 (only that of the queen could
correspond with the work in the Louvre) and of the dauphine in 1749.
Lit.: Pons 1987; Rambaud

Félix-Alexandre MENNECHET (1811–1878), juge de paix, administrateur et Secrétaire perpétual of the École gratuite de dessin at Saint-Quentin; brother of the collector
Alphonse Mennechet de Barival (q.v.). He seems to have been responsible for the 1849 inventory of the La Tour pastels at the École, and was the author
of the catalogue of the La Tour pastels there, published anonymously in 1856 and reissued with his name in 1866. The paraph Mt which appears on many of the préparations may be his.

Méraud, v. s.v. Roché

Mrs Philip MERCIER, née Dorothy Clapham (a.1710–1782), widow of the painter Philippe Mercier (v. artists), of Windmill Street: her trade card in the V&A mentions the "silk paper" for drawing in pastel introduced by John Stackhouse
Styles (q.v.), as well as "abortive vellum" for drawing.

Denis MÉSARD, Mesard, Mezard, Messard ou Meszard (ﬂ. 1714–51), marchand épicier et maître peintre, "A la signe de la Cornemuze", rue Darnétal
(later known as Greneta): artists' colourman, picture dealer and printseller. He was married to a Marguerite-Jacqueline Blondel ( –1748) (AN MC/lxxxvii/847). Their son
was Jean Mésard ( –1762), maître peintre. At the transfer of the business to Jean, an inventory
was taken of the stock (AN MC/LXXXVII/1008, 21.viii.1751). While it is clear that they did not specialise in pastel, there were six "boetes a pastel asortie"
valued at 8 livres each, and "trois cent crayons de pastel a deux sols chaque", 30 livres in total. In L'Avant-Coureur for 31.x.1763 (p. 701), "la veuve Mesard, marchande de
couleurs pour la miniature & le génie, rue Grenata, à la Renommée de la cornemuse d'outre-mer" offered among other things "des pastels de toutes couleurs."
She was recorded as a member of the Académie de Saint-Luc in 1764 (Guiffrey 1915). An application by her half-brother, the lawyer Nicolas Damien de Blancmur
(AN Y5202, 21.vi.1785) identifies her as Françoise-Henriette Mosnier ( –1785). After Mésard's death she married Jean-Eustache Granger Dorville, contrôleur des rentes
assignées sur les États de Bretagne, and presumably gave up business. After Granger Dorville's death (1779), she inherited property in Saint-Domingue of which the war
prevented her taking possession (dossier IREL).

Christian MICHEL, pipemaker in Ruhl, supplied pastels of a new kind, which could be mixed with water and applied to supports prepared
with oil paint. A box of 36 sticks cost one ducat.
Lit.: Busch 1820, p. 101f, citing Journal für Fabrik, .XI.1797, p. 395

Nicholas MIDDLETON ( -1824), stationer and pencil maker, trading in the Strand from the mid-18th century. Although an early 19th century trade card refers to
"crayons" these were "de plomb noir" and probably not pastel.
Lit.: British artists' suppliers at npg.org.uk

Claude-Louis-Octave, vicomte de MILLEVILLE (1751-p.1796), youngest son of a financier and munitions supplier, écuyer de main du
comte d'Artois 1775-81 (despite fighting a duel with the marquis de Louvois), capitaine au régiment Boufflers-Dragons, and a freemason, living in Versailles, presented his recipe for varnish
capable of fixing pastels to the Académie royale, who were "sensible au
zèle de M. le Vicomte de Milleville d'employer ses loisirs à la conservation des productions des Arts", and to d'Angivillers. He was asked
to return with specimens on 5.xi.1785, but sent his apologies. In 1792 he was colonel en second of the Royalist infanterie illyrienne corps in Koblenz.
Lit.: Procès-Verbaux, 29.x.1785; "Lettre de le vicomte de Milleville à le comte d'Artois sur la decouverte d'une vernis pour le pastel,"
5.xii.1785, AN O/1/1918 476; Goncourt & Goncourt 1867; Mazas 1861

William MITFORD (1699-1777), of Pitshill, near Petworth, receiver general for Sussex, patron, discoverer of John Keyse Sherwin; active in
the Society of Arts and member of the committee that evaluated the pastels of Charles Pache (q.v.) in 1772.

MOULE or Moulle (ﬂ. Paris a.1753), pastel manufacturer. Lot 502 in Charles Coypel's posthumous sale included "Sept Tiroirs remplis de Pastels
de meilleurs Fabriques; telles que celles de Moule, Charmeton & autres." Moule or Moulle is also mentioned in the correspondance of Caroline Luise von Baden
(letter of Pierre Philippe Maelrondt from Paris, 10.iii.1753: v. Perronneau, documents): he called on Perronneau and Maelrondt, and sold a box of 202 assorted pastel crayons
for 84 livres. He was probably Louis Moullé (1719–p.1793), marchand épicier à Paris (depuis 1743), 43 rue Saint-Honoré, who married a Madeleine-Geneviève Cassel in 1745
(carte de sécurité 16.v.1793 etc.). He was born in Linas but settled in Paris as a child. His son, Nicolas-Marie (reçu 1759), and relative (probably another son)
Jean-Louis Moullé (1742–1813), continued the business.
It is unlikely that the pastel maker was connected with Étienne Moulle (1641–1702), conseiller secrétaire du roi, whose inv. p.m. (AN CXII/426b, 28.iv.1702) contained
a very large number of paintings (but no pastels); he sold a Poussin to the crown in 1685. In the Salon de 1704, Vivien exhibited a lost pastel of a Mlle Moule.

Johann Heinrich MÜNTZ (1727-1798), Swiss painter and writer, interested in encaustic, which he thought could be used to fix pastels.
An English translation of his Encaustic, or, Count Caylus's method of painting in the manner of the ancients: to which is added a sure and
easy method for fixing of crayons appeared in 1760.
Lit.: Burns 2007

Edward NORGATE (1581-1650), artist, musician and author of Miniatura or the art of limning, 1627–28, revised 1648-50 correcting
the confused account of extracting
ultramarine under the heading "The Pastil". The treatise provided directions "to make Crayons...of ordinary Colours of all mixtures".
Lit.: modern eds. of 1919, 1997; Burns 2007; Treatises

Charles PACHE, 2 Oxendon Street, near Coventry Street, London 1774. Pastel maker; nephew of Lewis Pache (q.v.).
In 1772 Pache wrote to the Society of Arts, sending four boxes of his crayons for their approval. Pache presented these to the committee in person on
13.xi.1772. Advice was sought from "the most eminent artists" in the field of pastel: Liotard issued a certificate that they were as good as
Stoupan's, the browns even more beautiful; Russell and Milbourne concurred. Some thought Moreland's better. Bonhote
(q.v.) advertised Pache's pastels, citing him as a former partner of Stoupan (q.v.) at Lausanne, noting that Pache had obtained a premium from
the Society of Arts and Sciences (London evening post, 8.iv.1773). Soon after Pache advertised (London evening post, 24.v.1774)
that he had set up in business on his own, mentioning that he had received a Bounty from the Society for the Encouragement of Arts, Manufactures
and Commerce, for establishing a manufacture of crayons in England. This was the amount of twenty guineas for preparing crayons, and "establishing a
manufactory thereof in England." (H. T. Wood's 1913 History of the RSA erroneously reports the recipient as Joseph Pache.)
Lit.: "Regarding crayons invented by Mr Pache", 13, 27.xi., 4.xii.1772, [R]SA Minutes of the Committee on Polite Arts, [R]SA Minutes of Various Premium Committees 1772-73 [R]SA PR.GE/112/12/14;
British Artists' Suppliers at npg.org.uk; Lowengard 2008

Lewis PACHE ( –1773), a Huguenot of Swiss extraction (with connections in Morges) was naturalized in 1755. On 2.vi.1754 (at St John the Evangelist, Great Stanmore)
he married a widow, Marie Robelou, whose first husband may have been Joseph Robeleu or Robelou of St Ann's, Westminster, no doubt from the Spitalfields
family of Huguenot silkweavers. Pache traded (as Pache & Davis 1758–63, Lewis Pache & Co c.1765) at Hayes's Court, Soho, a trade card
shows "L. Pache, successor to Mr. Roubelou, and J. Davis, from Mr. Wilmot, the corner of Norfolk Street, ... hosiers, hatters, and glovers,
in Hay's Court, near Newport-Market, London, sell all sorts of silk, cotton, thread &c." (William Wilmot was a prominent hosier in the Strand.) The firm
supplied imported Swiss fabrics as well as artists' materials, including "The noted Swiss Crayons called Pastels Assortie, the Box being a compleat Assortment of Shades and Colours"
(Public advertiser, 20.vi.1758); on 14.ii.1760 and 30.iv.1760, they were described as made by Stoupan (q.v.) and recommended by "that famous
Painter Liotard" ("Liosard" at the earlier date). The firm was succeeded by John James Bonhote (q.v.).
Lit.: British artists' suppliers at npg.org.uk; parish records; CERL Thesaurus

PAILLARD, Paris, suppliers of pastels from 1788. Jacques-Michel Paillard, 15 rue des Francs-Bourgeois au Marais, Paris, in 1850,
took over the business originally started by "P. C. Lambertye", perhaps in 1788, at 5, rue d'Orléans au Marais (v. s.n. Constant) and continued
after 1822 by his pupil Joseph Panier, specialising in watercolour
in dry cakes. Paillard defended his rights to the Lambertye and Panier trademarks
in an action in 1858 against Albert Allmayer and Jacob Schloss who had sold colours in breach of his trademark.
Lit.: Kosek 1998

Anthony PASQUIN, the pseudonym of John Williams (1758–c.1821), journalist and art critic. His antipathy to pastel is neatly summarised in his
note on Russell (Pasquin 1796a): "To investigate the merits of miniature and crayon painters, is scarcely a toil worthy the pen of a biographer.
There is no province of the polite arts so thoroughly gulling and imposing as crayon painting; it capivates the vulgar eye, by a smoothness and
gaudiness which should render it disgusting; and even a bad artist may pass muster in this pursuit, who would be scouted in any other. It
requires a great portion of skill not to make the tints too garish for nature; and that species of knowledge no man possessed in so eminent a
degree as Mr Coates, and even he was not strictly correct on this essential point."
Lit.: Cullen 2000

John PAYNE, of 2 Castle Street, Holborn, added "instructions for painting in wax-crayons" to the 3rd (1800) edition of his The Art of painting in miniature, on ivory.

Henry PEACHAM (1578–c.1644), teacher, illustrator and author. He was educated at Trinity College, Cambridge and became travelling tutor to the sons of the Earl
od Arundel. His treatise on drawing and watercolour, Art of drawing, was published in
1606, exapnded as Graphice, 1612 (wtih a dedication to Sir Edmund Ashfield) and reissued the same year as the Gentlemans exercise; there
were further versions in 1634 and 1661. It contains a brief reference to making "pastils". Peacham's Compleat Gentleman of 1634 directs readers to
the Gentlemans exercise, but lists among materials for drawing "dry pencils made of what colour you please by grinding it with strong wort, and then
rowling it up pencill-wise, and so let it dry".
Treatises

Claude PÉPIN (ﬂ. – Paris 13.i.1782), framemaker, reçu maître-menuisier 25.i.1775, rue de Lappe, Paris. In 1766 he married Narie-Françoise
Boudin ( –1783). His workshop specialised in de luxe sculpted giltwood frames. Stamped frame on Labille-Guiard morceau de reception, Pajou (1782: presumably delivered before the
framemaker's death); also on 1776 Frédou pnt. a/r Roslin, Louis le dauphin and on Berjon, still-life (probably not original as the pastel is early 19th century). Two sons,
born 1766, 1777, are recorded, but do not seem to have been menuisiers.
Lit.: Salvert 1962; Harden 1998

Dom Antoine-Joseph PERNETY (1716-1796), Benedictine monk, librarian to Friedrich der Große, founder of the Société des illuminés
d'Avignon with count Grabianka, explorer, hermetic, author. He described the manufacture of pastel sticks in his
Dictionnaire portatif de peinture, sculpture et gravure, 1757, pp. 444f, and also included a section in the preface (pp. cxxviff),
"De la peinture en pastel", which he described as "une espece de dessein estompé". Pernety claims to have seen La Tour fix his pastels between
two sheets of glass, acknowledging however the greater convenience and popularity of the method designed by M. Lauriot [Loriot].

Bernard PERROT or Bernardo Perrotto (1640–1709), Italian glassmaker, member of a family of glassmakers from Altare which
settled in France, establishing the Manufacture royales des glaces in 1647. In 1662 he set up on his own Verrerie royale in Orléans, inventing
a new process for casting glass for which he was granted patents in 1668 and 1672. In 1688 he discovered the process of
making molten glass flow onto smooth iron tables where it was rolled and cooled; a necessary process before large scale pastels could be made.
Lit.: Elphège Frémy, Histoire de la manufacture royale des glaces de France au XVIIe et au XVIIIe siècle, Paris, 1909; Jean Hartwig, Les Cahiers du verre, no. 8, 2014

Michel Chipault, dit PHLIPAULT [Phelippeaux etc.] ( -1778), marchand bonnetier who was concierge de l'Académie royale de
peinture, Paris 1757-78. He was married to a Louise-Madeleine Frontier (1705–1785) before 1740, and was succeeded on his death by his son
Pierre-Alexandre Phlipault, whose inv. p.m. was made 30.xi.1824. A daughter, Marie-Julie (1741–1780), married the son of Jacques Neilson (q.v.). Phlipault supplied pastels from
Lausanne (presumably by Stoupan, q.v.) for 52 livres for two
boxes containing a complete range.
Lit.: Procès-verbaux; Ratouis de Limay 1907, p. 157, citing letter of 27.v.1763 from Nicolas-Charles [or his son Jacques-Augustin] de Silvestre to Aignan-Thomas Desfriches (q.v.); also cited Arnoult
2014, p. 110; notoriété, 22.vii.1785, AN mc/liii/603

J. B. PICTARIUS, pseudonym for the author of De geheime illumineer-konst, 1747, which has a section on "Schilderen met Pastel" (pp. 96–110), which appears to draw from English sources.

Antoine-François de Santi-Pieri, dit PIERI (Livorno 1783 – p.1819), peintre doreur du roi, rue Fromenteau 1, Paris: frame label on pastel by Pougin de Saint-Aubin, 1746. He is listed in the
catalogue of the exhibition L'Industrie française held at the Louvre in 1819. His full name appears in the act of naturalization, Saint-Cloud, 25.vi.1817.

Roger de PILES (1635-1709), art critic and connoisseur, conseiller honoraire de l'Académie royale de peinture et de sculpture;
famous for his defence of colour against drawing. He described pastel manufacture. His Premiers Elémens de la peinture pratique, first printed in 1684 (with engravings by Jean-Baptiste Corneille, sometimes listed
as a co-author), and includes a section "De la peinture au pastel". He also recommended buying ready made pastels from several suppliers in Paris.

Mrs Matthew PILKINGTON, née Laetitia van Lewen (c.1709–1750), the divorced wife of an Irish clergyman, set up a print shop in St
James's, London, c.1740 but was arrested for debt. Amongst her stock were pastel cut-outs by Nathaniel Bermingham (q.v.). Her
Memoirs are a useful source of gossip.
Lit.: Oxford DNB

Jean-Claude PINGERON (Lyon 1730 – Versailles 1795), capitaine d'artillerie et ingénieur an service de la Pologne,
attaché au bureau des plans des batiments du roi. He traveled to Italy and the Levant, and translated works in various fields. Among his
journalism was a letter on the state of the arts in England, summarised in the Journal d'agriculture in 1768.

James POOLE (ﬂ. 1764-1801), 163 High Holborn, London. Artists' supplier; he advertised Swiss crayons in 1786. He stocked
Swiss crayons made by Mr Hudson (q.v.). Poole was a major supplier of artists' canvases, obtaining the
freedom of the Weavers' Company in 1764. Following the new Linen Act of 1784, artists' canvases were brought into the charge for linen duty, and
were stamped accordingly as British Linen; stencilled numbers included the year in four digits, running vertically at the right edge. Poole's stamps appear on
numerous oil paintings and at least one pastel.
Lit.: British artists' suppliers at npg.org.uk

Jean-Baptiste POURVOYEUR (ﬂ. 1762-87), inventor of fixing method, and party to the case which opposed the
artists of the Louvre to those of the Académie de Saint-Luc. In 1768 the maître peintre de l'Académie Saint-Luc was living at the rue des Bourdonnais. His wife was
Catherine-Françoise Gaillard; their son, François-Catherine, a peintre en miniature, was married at Saint-Philippe-du-Roule in 1784. In 1787 after the death of his son-in-law, Antoine-Étienne
Mille, avocat au parlement, Pourvoyer was described as "peintre des Galeries du Louvre, demeurant Grande rue du Roule".
Dictionary, artists

Edward POWELL (ﬂ. London 1724-44), colourman, St Martin-in-the-Fields, father of Edward (1727–?1813) and John (1730– ), who seem to have continued the business.
The father presumably was the Powell in Pond's accounts in 1734, while J. Powell was presumably the author of a letter to Copley of 18.x.1765,
supplying a box of "craons" for 15s. which Powell hoped "will Turn out agreeable as I Took the pains To Go To The maker".

Emile QUEUIN (ﬂ. 1865–73), pupil of Deligne (q.v.) at the École impériale gratuite de dessin à Saint-Quentin in
1865; in 1873 he received several prizes at the school. He was named by Fleury (1908) among the copyists of La Tour.

William REEVES (?1739-1803), and his brother Thomas Reeves (1736-1799). Leading artists' suppliers in London from 1766, in partnership
at the Blue Coat Boy, 2 Well Yard, Little Britain, West Smithfield 1780-82, 80 Holborn Bridge 1782-83, and subsequently independent, Thomas
continuing at Holborn Bridge while William Reeves traded from the Strand. Trade cards and advertisements (e.g. Morning herald, 24.x.1782;
Daily universal register, 2.v.1785)
mention fine Swiss crayons and English crayons, as well as "Double & Single Setts of Crayons, in all the Different Shades equal to the Italian".
Nevertheless, according to advertisements in the Times on 1.xi.1792 and a number of later dates,
T. Reeves & Son "have just imported a large quantity of Italian crayons, very fine;
complete sets of English crayons" were also supplied. By 1797 the heading of the advertisements had changed to Swiss Crayons, Reeves having
"lately imported a quantity of exceeding fine Swiss Crayons in setts." However, in the Star on 4.ii.1796, William Reeves, by then trading as
Reeves & Inwood, offered "English Crayons, which, for beauty of colour,
as well as mellowness of texture, are superior to any other's manufactory."
Lit.: Kosek 1998; British artists' suppliers at npg.org.uk

James (or Jacques) REGNIER (ﬂ. 1710, -a.1754), succeeded by his niece Celeste Regnier (ﬂ. 1754-72),
who married the sculptor Louis-François Roubiliac, in 1756 (Roubiliac had three previous wives; this marriage was reported in the Gazetteer for 24.xi.1756). Printsellers, at the Golden Ball, Newport St, Long Acre, London.
Advertised (Daily courant, 30.xi.1728, 3.ii.1729; Universal spectator, 21.iii.1730 etc.; Public advertiser, 1.viii.1754 etc.)
"all Sorts of the finest Water-Colours, Dry Crayons, or Pastels, Hair and Black Lead
Pencils, Red, Black and White Chaulk and Paper for Drawings". Celeste appeared in the Westminster rates books until Roubiliac's death in 1762 under her maiden name, and
as Celeste Roubiliac until 1770. In 1767 she married a Benjamin Taylor of Bankside, Southwark; he moved to Great Newport Street, but was listed as a bankrupt in 1772.
Lit.: British artists' suppliers at npg.org.uk

Johann Jakob REHBACH (ﬂ. 1803–45), from Vienna, settled in Regensburg in 1803 and began manufacturing pencils in 1821. He retired in 1845 and was succeeded by his sons
Johann Christoph and Johann Michael Carl. The firm exhibited pastels and ordinary crayons at the Exposition de 1867; they were exported to
France and England. The manufacture of crayons in Bavaria was widespread, resulting from high quality of the naturally occurring seams of
graphite.

Dorothy RICHARDSON (1748-1819), granddaughter of the physician, botanist and antiquary Richard Richardson, left five volumes of travel writing now in the John
Rylands Library, as well as an annotated copy of the New Bath guide of 1770 recording her visits to the studios of Gainsborough and Hoare (q.v.); the latter
provided an unprecedented level of detail on the works displayed.
Lit.: Belsey 1987; Marcia Pointon, Strategies for showing: women, possession, and representation in English visual culture, 1665-1800, Oxford, 1997, pp. 89-130

George RILEY (1743-1829), Queen St, Mayfair, London 1770, Stone's Head, Curzon St, Mayfair 1772-81, St Paul's Churchyard
1781, Newgate Street 1783, Ludgate Street 1783-95, 3 Creed Lane, 1794-98; Old Bailey 1798-; stationer and crayon pencil supplier.
In The World (5.iv.1788), Riley advertised "New Invented Coloured Crayon Pencils of elegant shades, put in fine Cedar, to use
as a Black Lead pencil, price only £1 7s. the complete set, or 9d. single prepared and sold by G. Riley, sole Patentee"; these crayon
pencils were made to the patent of the late Thomas Beckwith (q.v.). Riley described these in A concise treatise on the
elementary principles of flower-painting and drawing in water-colour... , 1807. Advertisements appeared, such as his letter to the
Newcastle courant, 25.x.1788 from 33 Ludgate Street, enclosing an endorsement from the Edinburgh artist George Walker.
Lit.: British artists' suppliers at npg.org.uk

Jean-Baptiste-Claude ROBIN (1734-1818), peintre de l'académie; censeur royal de l'Académie des Beaux-Arts; salon critic; pupil of Doyen and possibly Perronneau, whose widow he married in 1784, having been godfather to one of her sons.

Henri ROCHÉ (1837–1925), biologist and chemist, established La Maison du pastel in Paris c.1875, taking over the business run
by Séraphin Macle (1805–1870). According to Roché literature the firm was said to have been originally established in 1720 at Versailles; it moved to the rue Saint-Honoré in Paris
c.1760, and, from 1766 to 1912, was based at 4 rue du Grenier-Saint-Lazare. Macle, a marchand and fabricant de couleurs, seems to have been best known as a supplier of watercolours,
in partnership first with François-Joseph Lonchamps or Lonchampt (Lonchamps, Macle & Cie, rue Saint-Denis, was formed in 1839 but dissolved a year later; a silent partner was Louis-Adolphe Bourniche) and then
with Méraux (at 4 rue du Grenier-Saint-Lazare, by 1855); an 1851 document has Macle already at that address. The firm claims to have supplied La Tour, Perronneau, Chardin and Carriera, but details of the 18th century origins
remain obscure.
Lit.: Monnier 1984, p. 117; Cabezas 2008; firm's website; Roché 2009

Jean-André ROUQUET (1701–1758), Swiss enamelist who visited London and published L'État des arts en Angleterre, 1754,
translated as The present state of the arts in England, London, 1755, commenting on English diasapproval of pastel. It was followed by
L'Art nouveau de la peinture en fromage, an investigation of ways of painting worse than those already existing. He died insane at Charenton.

Jacques ROZE ( –1772), framemaker, maître-menuisier, reçu sculpteur de l'académie de Saint-Luc, .vii.1752. He died in 1772 at rue de Charonne,
leaving five minor children. His widow was Anne-Marguerite Veran; she was remarried, to Louis-Alphonse Morizet, another menuisier.
Lit.: Harden 1998

John RUSSELL (1745-1806) described his methods in Elements of painting with crayons, 1772.
Dictionary, artists

Mrs William Wynn RYLAND, née Mary Brown (c. 1740–p.1817). "Mrs Ryland, having removed from Oxford-street, to No. 102, in New-Bond-street, two doors from Brook-street, most respectfully solicits the continuance
of the same kind support she has hitherto been favoured with from her friends and the public" according to her advertisement in the
Times, 28.iii.1787, which adds that "Fine
crayons, and other materials for drawing, may be had." She was the widow of the royal engraver (and pioneer of stipple engraving)
William Wynn Ryland (?1732–1783), executed for forgery. They had married in 1758, and had six children.
Lit.: Angelo 1828, p. 482; Exeter working papers at bookhistory.blogspot.co.uk

Alphonse de SAINT-MARTIN (ﬂ. 1825) established (or succeeded Leroy) a publishing and artists' supply business at 6 (later 4) rue de Seine, "A la palette de
Rubens", which was later continued by his widow. Active in the first half of the 19th century, some sources suggest the business was originally established in 1785. The firm's stamp is found on the canvas of a later copy of La Tour, Marie Leszczynska.

Joseph, chevalier de SAINT-MICHEL (ﬂ. 1756-85), inventor of fixing method, which it is alleged he stole
from the principe di Sansevero (q.v.). It was submitted to Bachelier and Roslin at the Académie on 6.vi.1772, and offered by subscription.
Dictionary, artists

ST PETERSBURG. According to an advertisement in the Санкт-Петербургские ведомости
in 1794, a shop на Мойке в доме No 284 при пудреной фабрике
offered various types of paper, parchment, and everything required to draw, including assorted coloured chalks.

William SALMON (1644–1713), at the Blew Balcony by Fleet-Ditch (an address shared with Alexander Browne, q.v.), a mountebank who described himself as "professor of physick",
published a compendium entitled Polygraphice: or the
arts of drawing etc. in 1672. It reached its fifth edition in 1685. The text largely matches Browne's 1675 Appendix.
Treatises

"Le citoyen SALMON, rue de Thionville, ci-devant Dauphine, no. 26, à Paris" (near the rue Christine), advertised (among other artistic supplies such as
envelopes, which he popularised, and ink, which he made to the approval of the Académie royale des sciences, from as early as 1756), "boîtes de
crayons de pastel, de 6, 12, 20 et 24 l. la boîte" (Gazette nationale, 21.vii.1793, no. 202, supplément, p. 180; they were
previously advertised in the Mercure de France, .x.1786, supplément, p. 11). Some of the papetier's wares were marked with the étiquette
"Au Griffon"; he is also recorded "Au Portefeuille anglais". He was a member of the Jacobin Société des Amis de la constitution.
Around 1802 he or a homonym was briefly associated with Coiffier (q.v.). It is unclear if he was the printseller Salmon of 1306 rue des Bons Enfans,
passage Radziwille (1799, 1805), later (1813- ) at 1 Boulevard Montmartre.
Lit.: Grand-Carteret 1913

Matthew SANDERSON (ﬂ. 1783–84), "chymist, colour-maker, and perfumer" advertised in the Manchester Mercury, 23.ix.1783 (and later dates), various wares
including "Patent and other crayons" from his new shop at 53 King Street, Manchester. He may be the chemist who successfully defended an action for nuisance from his
neighbout at Green Lane, Sheffield in 1771. His son Thomas was admitted to Manchester Grammar School in 1783.

Sir William SANDERSON (1586–1676), historian, published Graphice: or, The use of the Pen and Pensil, in 1658; with details
"of Croyons or Dry-Colours, by Pastils or Powders; the way of making them, and working with them: with rare Receipts and Observations of the best
Masters of this Art." It was largely drawn from Norgate (q.v.).
Lit.: Edward Norgate, Miniatura, or the art of limning, c.1648-50, ed. Martin Hardie, Oxford, 1919, p. xxiii; Treatises

Jacques SAVARY DES BRUSLONS (1657-1716), son of the celebrated economist; his Dictionnaire universel de commerce was published posthumously (Paris, 1723 and later editions).

M. SCHEPPERS, probably Louis-Joseph Scheppers (1734-1795), négociant, son of a marchand graissier, himself a future director of the chambre de
commerce, inventor of "l'art de fixer le pastel et de l'embellir même au lieu de l'altérer", which
he advertised in the Annonces, affiches et avis divers, 1755, and which he made available to Dachon, a painter from Lille. His name appears in
an undated memorandum among the papers of Caroline Luise as "Monsieur Scheppert fils d'un Bourguimeaitre ou d'un Riche Marchand à Lille" who had recently published
a similar notice in the Gazette d'Hollande. Scheppers was probably the
father-in-law of Lancel l'aîné, the amateur who exhibited in the 1782 salon de Lille.
Lit.: Ratouis de Limay 1946, p. 149; Reuter 2015, pp. 119, 123 n.60; Generallandesarchiv Karlsruhe FA 5 A Corr 98, 14

John SCOTT ( -1838), of 419 Strand, London, from 1782, sold materials for watercolours and drawings; advertised "Crayons in sets,
ditto of Swiss Crayon Pencils, a curious article, being in wood after the manner of Black-lead, in sets of 50 and 70, of all different
tints" (General evening post, 25.i.1783, 23.xii.1783, 6.i.1784); and "British & Swiss Crayons, & the true Italian Crayon Pencils, in sets
of every Colour, of which Scott is the only importer" (St James's chronicle, 12.viii.1788). Other advertvertisements in the Sun, 7.i.1793 etc. Listed as "crayon manufacturer"
(Wakefield's directory, 1790).
Lit.: British artists' suppliers at npg.org.uk

William SITTENHAM (1861–1938), restorer, including apparently 18th century pastels, art dealer and real estate investor, active in New York, known from a printed sheet "Crayon and pastel portraits : restoring oil paintings a specialty".

Jean-Baptiste SLODTZ ( -1759), peintre du duc d'Orléans, restorer and partner of Rémy (q.v.). A pastel by Carriera was among those he restored.
Lit.: Marandet 2003a

John SMIBERT (Edinburgh 1688 - 1751), portraitist in oils; active in Boston, where he also sold artists' materials, including chalks and crayons.
Lit.: Shelley 2002b

William SMITH, of Norwich, colourman. Smith's Colour Manufactory, St Faith's Lane, Norwich, advertised various colours in the Norfolk chronicle, 15.viii.1789,
including "Superfine CRAYONS, equal to the Swiss, single or in Setts, from 6s. to 21s. each." In 1792 it had moved to London Lane, and also dealt in pictures and
prints. William Smith was declared bankrupt in 1798. The firm was unrelated to the London colourmen.

William STORER (ﬂ. London 1777–90), optician, of Great Marlborough Street, and Lisle Street, London, invented the Royal Accurate Delineator, a technically superior camera obscura, using
three lenses and and a system of adjustable boxes, designed to work without the need for sunlight; it was patented in 1778, but mentioned by
Horace Walpole in a letter to Henry Seymour Conway of 16.ix.1777. In 1783 Storer published a Syllabus, to a course of optical experiments
for use with the instrument; it contained a lengthy list of patrons. Several pastellists, including Mrs Adams, Bateman, Dobson and Guest
(qq.v.), mentioned it in advertisements. Nevertheless Storer was made bankrupt in 1784; an auction of his stock and personal effects took place on
4.vi.1785, including optical and musical instruments, prints and paintings.
Lit.: Clercq 2008; John H. Hammond, "The royal accurate delineator", The photographic collector, V, 1984, pp. 181ff;

John Stackhouse STYLES (1725–1761), of King Street, Cheapside, London, stationer, credited with introducing silk paper for drawing in chalk and pastel c.1759 (copying similar papers made in France).
Lit.: Krill 1996

Mrs John SURTEES, née Elizabeth Thompson Royal (1828-p.1877), of Higher Broughton, Manchester: her pastel copies of two Russell
portraits are at Chatsworth. In 1872 she married the Newcastle-upon-Tyne landscape painter John Surtees, the son of a
butcher. He was evidently the painter who exhibited from 1843 on. Mrs Surtees exhibited a landscape at the Royal Academy in 1877 from
111 Gower Street.

Louis THIBAULT DE MONTIGNY (c.1695-p.1791), peintre, sculpteur, was located in the rue de la Mortellerie at the time of his marriage, 26.vii.1716, and at quai
Pelletier at the time his son was married, 22.i.1741. He had moved to the rue de la Verrerie, aux Armes de France, when he advertised in L'Avant-Coureur,
11.viii.1766, p. 500f, announcing a new composition for sculpture, suitable for decorating picture frames. It is evidently the same as the mastic described in Duchesne's
Dictionnaire de l'industrie, Paris, 1776, II, p. 417. In his notice in L'Avant-Coureur, 27.i.1772, pp. 52-54 he added that he also mounted prints, pastels and plans
under glass with gilt frames at scheduled fees ranging from 2 livres for an 8x7 pouces picture with a 1 pouce frame to 56 livres for a 36x30 pouce frame of 2 pouces width.
By 1789 he had removed to 102 rue de la Tixeranderie.

Johann Alexander THIELE (1685-1752), credited by some sources as the inventor of pastel.
Dictionary, artists

Hélène-Louise THOMASSET (1710-1782), from Agiez, near Orbe, Vaud. Mlle Thomasset accompanied her widowed mother and her sisters
to London in 1749, where they set up a school for young ladies at 18 Great Marlborough Street. In 1764 Helene bought an annuity on Bank of England stock.
She is said to have taken up embroidery at an advanced age, possibly under the influence of Mary Linwood (q.v.) she worked in a similar manner,
reproducing paintings by old and modern masters. Liotard stayed in London nearby in 1772-74, and she copied Liotard's 1773 self-portrait which was acquired by Lord Bessborough.
The correspondence of her nephew, the botanist Edmund Davall, provides biographical details and references unknown to R&L, and reveals that the family
remained in contact with the Ponsonby family in the 1790s.
Lit.: Humbert & al. 1897; Fosca 1956, pp. 104; R&L p. 590; Gavin Rylands de Beer, "Edmund Davall, F.L.S., an unwritten English chapter in the history of Swiss botany",
Proceedings of the Linnean Society of London, CLIX, 1947, pp. 42-65; "Thomasset", Notes & queries, 1949, 1950; Fischer 2007; Neil Jeffares, Mlle Thomasset, 2016

C. TIMMANN-DELFOW (ﬂ. Dresden 1908), copyist of old master pictures in oil and pastel, made a copy of a Rosalba's La Giustizia e la Pace.

André TRAMBLIN, framemaker, maître-menuisier, Paris, no doubt connected with the peintre de l'Académie de Saint-Luc ( –1742),
who is described in one document as a maître-peintre de bordures.
Lit.: Harden 1998

George VERTUE (1684-1756), art historian and early commentator on the vogue for pastels (1742).
Dictionary, collectors

Thomas VIALLS (1719-1781), London carver and gilder; framed two pastels by Read for James Grant of Grant (1764).
Lit.: British picture framemakers at npg.org.uk

Marc VIBERT (ﬂ. Parma 1754), framemaker active in Parma (presumably of French origin), responsible for the series of eight frames for the Liotard royal portraits in the Stupinigi.
Lit.: R&L p. 377; González-Palacios 1996

Jacques VIVIEN, sculpteur sur bois, reçu 1683 by the Académie de Saint-Luc, who must be the picture-frame-maker paid 174 livres
by the Bâtiments du roi on 7.xi.1700 for three frames of the portraits of the royal princes by his brother, Joseph Vivien (q.v.).

Parry WALTON ( -1702), restorer of the King's pictures. In 1675 he was living at 2 Lincoln's Inn Fields.
Dictionary, artists, s.n. Greenhill; Survey of London; British picture restorers at npg.org.uk

Claude-Henri WATELET (1718-1786).
Dictionary, collectors

Jean-Félix WATIN (1728-1804), art supplier from his shop in Paris, à la Renommée, carré de la porte Saint-Martin; he appears as the author of the
L'Art du peintre, doreur, vernisseur, published in 1772 with numerous subsequent editions, but in fact written by Roch-Henri Prévost de
Saint-Lucien (1730-1808), a lawyer and author on a wide range of subjects. It included a stock list with prices, including (p. 348) Grandes
boîtes de pastel assorties, for 12 livres, with petites boîtes for 8. Watin was married to Marie-Jeanne Paulus.
Lit.: Chatelus 1991, p. 80; Lowengard 2008